The phenomenon of experienced agency is related to perceptual‐motor coordination, and Solfo and van Leeuwen discuss two ways that context can change this relationship. One is that agency is experienced only in contexts where environmentally‐coupled actions are stitched together over time to form long‐range correlations. The other is that the locus of agency depends on the temporal relationship between actions and events in the environment.

Sense of agency can be defined as the self-awareness of bodily movement, whereas extended agency as the self-awareness of affecting, through movement, events concomitant with movement. As a distinctive manifestation of agency, we review Spizzo's effect. This effect arises when agents coordinate their rhythmic movements with visual pulses. Once coordination is established, agents feel controlling the onset or the offset of the pulses through their movements. Spizzo's effect, therefore, constitutes a manifest case of extended agency, in which agents are aware (...) of controlling, through movement, the pulses temporally concomitant with movement. We propose that sense of agency requires continuity of kinesthesia, which in turn requires the continuity of selfhood. The continuity of kinesthesia is necessarily deduced from the consistent kinematics observed in movements, whereas the continuity of selfhood may stem from the patterns of rhythmic coordination that humans encounter ever since intrauterine life. The primacy of these patterns in adults is in accordance with phenomena such as Spizzo's effect, which require coordination to be induced. We, therefore, propose coordination as the fundamental interaction from which selfhood, kinesthesia, and agency arise. (shrink)

It is often assumed that habits and aesthetic experiences are fundamentally and irreconcilably opposed. Typically, aesthetic experiences are considered to necessitate non-habitual behavior and to provoke unexpected mental states and extraordinary affective sensations. This article challenges this assumption. Moving beyond potential structural analogies between habitual behavior and aesthetic experience, I focus on two key aspects. Firstly, I argue that the experience of beauty and aesthetic experiences in general actually depend on certain habits, specifically those engaged in aesthetic agency and appreciation, (...) which I term «aesthetic habits». Secondly, I propose that habits have an aesthetic origin, as they virtuously evolve and adapt to their environment. This transformative capacity, along with their ability to resonate with specific situational demands, embodies an improvisational quality that should be encouraged, reflecting the inherently unpredictable and uncontrollable nature of aesthetic experience. (shrink)

Frank Michelman’s recent book Constitutional Essentials. On the Constitutional Theory of Political Liberalism is discussed from a specific angle, related to how Rawls’s ‘deflection procedure’ – called by Michelman ‘justification by constitution’ – is affected by two recent innovations in the paradigm of political liberalism: first, the extension of reasonable pluralism to a family of liberal political conceptions of justice that coexist in a liberal-democratic society; second, the idea of legitimation based on the criterion of reciprocity, aimed at supplementing the (...) liberal principle of legitimacy. In the attempt to probe Michelman’s assessment of the impact of these two innovations, three critical points are mentioned, for each of them, that suggest a somewhat more sceptical attitude than Michelman’s about the capacity of ‘justification by constitution’ to remain substantially unaltered, once these innovations are in place. (shrink)

Abstract -/- In this paper, I shall deal with quasi-(proper) names, that is expressions like ‘Mum’, ‘Dad’, ‘Grandpa’, ‘Grandma’ in English or ‘Papà’, ‘Mamma’, ‘Nonna’, ‘Nonno’ in Italian. I shall use examples both from English and Italian. Quasi-names are directly referential like proper names, even if they apparently exhibit some conceptual materials, which, however, are not active and are inert. They can be used as vocatives or as arguments of verbs. I called terms like ‘Mum’, ‘Dad’ ‘quasi-names’ because they have (...) certain characteristics of names (but they could also be called ‘indexical names’). They confer significance to an individual. Quasi-names are indexical, although the word ‘I’ does not appear in the proposition expressed. (shrink)

ABSTRACT The Discourse on Florentine Affairs contains a proposal for constitutional reform in which Machiavelli directly addresses Pope Giovanni de’ Medici. With the aim of contributing to the recent radical republican readings of Machiavelli, this paper argues that the best way to understand the Discourse is to read it as an example of Machiavelli’s use of irony. Machiavelli disguises his radical republican ideas in the Discourse with paradoxes, omissions and implausible reforms that, though clearly leaning towards a popular republic, are (...) presented as part of the oligarchic or princely option that was defended by the Medici. His subtle critique of the Medici’s client-based politics, his implicit rejection of the oligarchic mixed regime, his description of the institution of such pro-popular magistrates as the Provosts and the Gonfaloniers of the Companies of the People, make one suspect that Machiavelli is hiding a disguised preference towards a popular, rather than a mixed, republic. (shrink)

This paper explores the ontology of musical improvisation (MI). MI, as process in which creative and performing activities are one and the same generative occurrence, is contrasted with the most widespread conceptual resource used in inquiries about music ontology of the Western tradition: the type/token duality (TtD). TtD, which is used for explaining the relationship between musical works (MWs) and performances, does not fit for MI. Nonetheless MI can be ontologically related to MWs. A MW can ensue from MI and (...) MI can be required for performing a MW faithfully. As performance on a MW, MI can offer versions of a MW, manifest a MW, and, especially, use it as one of its ‘ingredients’. Recordings of MI present special challenges and an unexpected ontological revival. (shrink)

This volume addresses the intriguing issue of indirect reports from an interdisciplinary perspective. The contributors include philosophers, theoretical linguists, socio-pragmaticians, and cognitive scientists. The book is divided into four sections following the provenance of the authors. Combining the voices from leading and emerging authors in the field, it offers a detailed picture of indirect reports in the world’s languages and their significance for theoretical linguistics. Building on the previous book on indirect reports in this series, this volume adds an empirical (...) and cross-linguistic approach that covers an impressive range of languages, such as Cantonese, Japanese, Hebrew, Persian, Dutch, Spanish, Catalan, Armenian, Italian, English, Hungarian, German, Rumanian, and Basque. (shrink)

In this paper I aim at discussing the following questions: is improvisation an intentional action? If it is an intentional action, in what sense is improvisation intentional? Can improvisation contribute to the understanding of intentional action? I will argue that improvisation is not a bizarre case of action or a weakened action, but an intentional action in the proper sense. Moreover, improvisation exemplifies key features of intentional action as such.

El tema del presente texto es la cuestión del estatuto ontológico del arte y del papel que, con respecto a tal estatuto, juega la relación entre arte y poder político. Para ello voy a traer a colación las obras de dos autores clásicos en este tema: Las cartas sobre la educación estética de la humanidad (1795) de J. C. F. Schiller, y el H. Marcuse de los escritos sobre la dimensión estética, en particular de los ensayos titulados La dimensión estética (...) (1978), Ensayo sobre la liberación (1969) y Arte y revolución, que es un capítulo del libro Contrarrevolución y revuelta (1972). Se trata de textos muy vinculados a las épocas en las cuales fueron escritos, los años sucesivos a la Revolución francesa en el caso de Schiller, y, por lo que concierne a Marcuse, los años de los movimientos libertarios juveniles de protesta, es decir, los años sesenta y setenta del siglo pasado. En ellos, sin embargo, y como en todo buen clásico, aparecen temas y argumentaciones que todavía hoy constituyen una buena herramienta para discutir filosóficamente la relación entre arte, estética y política. (shrink)

A fine Settecento, quando l’ingresso della musica nel «sistema delle arti» era un evento ancora recente, il fondatore della Allgemeine Musikalische Zeitung, Friedrich Rochlitz, individuava il motivo della maggiore discrepanza nei giudizi in materia musica le rispetto alle altre arti nel fatto che essa sarebbe priva di punti di riferimento visibili. «La musica», egli affermava, «nulla ha divisibile (Sichtbares) cui si possano confrontare le sue opere, o da cui possa scaturire una qualche concordanza nelle valutazioni». Mentre per esempio possiamo valutare (...) la differenza di valore tra due raffigurazioni di una rosa perché abbiamo visto la rosa reale, nella musica, argomentava Rochlitz, dobbiamo affidarci alla nostra sensibilità introspettiva, il che rende il compito del giudizio assai difficile. Non intendo qui commentare questo argomento. Piuttosto mi interessa mettere in discussione l’idea che la musica non abbia a che fare con la dimensione del visibile. Anche dando per scontata l’idea che la musica sia un’arte, o un campo di pratiche, legato in modo fondamentale ai suoni e all’ascolto, non è inutile interrogarsi sul contributo della dimensione visiva all’esperienza musicale. Questo articolo presenterà quindi alcune considerazioni circa gli aspetti visivi della produzione e della ricezione della musica. La prima parte concerne la possibilità di visualizzare l’opera intesa come tipo ideale strutturale. La seconda parte discute il ruolo della visione nell’esecuzione delle opere musicali. La terza parte si sofferma brevemente sul ruolo della visualizzazione immaginativa e del vedere performativo nelle pratiche dell’improvvisazione. La conclusione propone un rapido riferimento all’iconologia musicale. (shrink)

L’articolo intende sondare la fondatezza ontologica di una categoria personologica fondamentale, in particolare in ambito ecclesiologico: il “noi”. Tale ricerca si sviluppa soprattutto nella sua rilevanza trinitaria, a partire dall’apporto offerto dal teologo tedesco Heribert Mühlen, il quale, nella sua opera pneumatologica Der Heilige Geist als Person. In der Trinität, bei der Inkarnation und im Gnadenbund: Ich-Du-Wir, approfondisce questo tema insieme ad altre tre parole-chiave: “io”, “tu”, “tra”.

Graphical AbstractWe can, for example, understand intimately how the human endocrine systems works, and likewise the chemical nature of compounds present in our environment; but the result of the interaction cannot be deduced from any simple combination of the two knowledge sets: it's not the interacting entities that we should be studying, but the process that creates the phenomena that we witness as a result of this interaction. This is the “biodynamic interface” to which Manish Arora, Alessandro Giuliani and (...) Paul Curtin refer in their article in this issue, and it is a conceptual structure that comes into being upon interaction of entities: a new way to study interactions in complex systems and better understand emergent phenomena. (shrink)

I contributi che hanno risposto alla call for papers di questo numero sulla “filosofia della città” restituiscono uno spettro estremamente diversificato. In sette articoli su dieci, tra quelli attinenti alla call, sono coinvolti autori che avevano partecipato alla conferenza “Philosophy of the City”, tenutasi a Torino nell’ottobre 2022: il presente fascicolo registra uno sviluppo parziale di quelle discussioni. L’antefatto è rilevante, perché consente di rendere esplicita la circostanza di qu...

This essay develops a theory of improvisation as practice of aesthetic sense-making. While considering all arts, references are made to many concrete cases. A topic in vogue since the XX. century, as evidenced by the great philosophers who were interested in it (Ryle, Derrida, Eco among others), improvisation, a felicitous mixture of habit and creativity, norm and freedom, is constitutive of human action. Human practices – including very well-regulated activities such as playing chess, piloting airplanes, or medicine – permit and (...) often require it to varying degrees. Improvisation is also the true source of artistic experience. Consequently, the aesthetics of improvisation result in a philosophy of art: Art was born as improvisation. Yet improvisation has its own aesthetic dimension: that of a "grammar of contingency" in which notions such as emergence, presence, curiosity and authenticity explain the pleasures of joyful adventure and empathic involvement elicited by improvisation. (shrink)

The idea that art is related to a process of creation is a modern one. Through a complex history in the $)th century, which is not without contradictions, the connection between art and creativity was debated in different fields – psychology, epistemology, cognitive science, etc. – and became the target of attacks from marxism and (post-)structuralism. Still, the notion of creativity seems to have conserved its force not only in everyday practices but also in media discourses. In diverse areas – (...) from art theory to epistemology, from action theory to economics, from computer science to psychology (to give only a few examples) – it has regained the attention of scholars as well, as is made clear by the number of recent publications on the topic. However, questions remain as to whether and how the notion of creativity can be used and what kind of conceptual work it can do. Trópos dedicated a call for papers to this topic. Selected papers are published in two special issues. The present one includes essays offering theoretical investigations on creativity. They do this under different, even contrasting, perspectives, with different aims and with di5erent outcomes. Yet, the light they throw on the question at issue provides readers with important, often creative, insights. Through them, readers are invited to think creatively, as well as critically, on creativity and its connections with the arts and aesthetics. (shrink)

Manuale di filosofia, a c. di F. Palchetti, vol. I.

It is assumed sometimes that the input of a measurement, and therefore the entity with which a measuring system interacts, is a quantity value, possibly the (true) measurand value, and from this hypothesis the model of ideal measurement as an identity process is formulated. In this paper we show that this position is based on an inappropriate superposition of quantities and quantity values, and therefore should be discarded.

In this paper I suggest that we look to improvisation in order to understand artistic creativity. Indeed, instead of being anti-artistic in nature, due to its supposed unpreparedness, inaccuracy, and repetitive monotony, improvisation in art exemplifies and 'fuels' artistic creativity as such. I elucidate the relationship between improvisation and artistic creativity in four steps. I discuss the concept of creativity in general (I) and in reference to art (II). Then I focus on the properties and the phenomenology of improvisation (III). (...) Finally, I explain why improvisation can be understood as an exemplifying instance of art creativity (IV). (shrink)

The paper discusses some recent suggestions offered by the so-called sensorimotor (or enactivist) theorists as to the problem of the explanatory gap, that is, the alleged impossibility of accounting for phenomenal consciousness in any scientific theory. We argue in the paper that, although some enactivist theorists’ suggestions appear fresh and eye-opening, the claim that the explanatory gap is (dis)solved is much overstated.

In this paper we continue the line of work initiated in “Building iteration trees”. It is shown that the existence of a certain kind of iteration tree of height ω is equivalent to the existence of a cardinal δ that is Woodin with respect to functions in the next admissible.

What do we mean when we talk about the identity of a musical work and what does such an identity involve? What in fact are the properties that make it something worth protecting and preserving? These issues are not only of legal relevance; they are central to a philosophical discipline that has seen considerable advances over the last few decades: musical ontology. Taking into account its main theoretical models, this essay argues that an understanding of the ontological status of musical (...) works should acknowledge the irreducible ambivalence of music as an "art of the trace" and as a "performative art." It advocates a theory of the musical work as a "social object" and, more specifically, as a sound artefact that functions aesthetically and which is based on a trace informed by a normative value. Such a normativity is further explored in relation to three primary ways of conceiving and fixing the trace: orality, notation and phonography. (shrink)

This article reviews three general themes pertaining to the transformation of Eastern European agriculture from a command system to a market oriented system. The first theme deals with the diverse character of Eastern European agriculture. In a context in which the agricultures of this region are often considered homogenous, acknowledgement of the varied dimension of this sector is a key element in both analytical and political terms. The second theme pertains to the “market”. The historical and theoretical dispute over the (...) role of the “market” has not only been central in the socio-economic reorganization of Eastern European countries and agricultures but is also a common element shared with the “West.” The third and final theme refers to the changing social stratification of rural regions. The emergence of new and powerful social groups and the demise of others represent fundamental aspects in the understanding of possible trajectories for development. The article concludes with a review of the contributions contained in this special issue of Agriculture and Human Values. (shrink)

I. Heureuse archi-tromperie À l’origine de la pensée il y a Eidos – éclat sans substance ni sens, archi-être de pure apparence avant toute chose. Ce qui advient d’abord, c’est le pur avoir lieu sans abord, qui concentre en soi tous les prestiges du non-être. Effraction sans plus, sans dépôt, dont le seul propre est l’absence de toute propriété, le rejet de tout attribut, la récusation de toute détermination, et par voie de conséquence l’impossibilité de toute individuation. Le premier est (...) l’u.. (shrink)

The present paper presents a philosofical analysis of the concept of control based on a specific characterization of the structure of control systems. The paper is subdivided into four section: in the first and the second sections the control dynamics is described and interpreted, while the last two sections briefly copy with the relationships between control, teleonomy, teleology and freedom.